Page 1 of 2 1 2 LastLast
Results 1 to 13 of 20
  1. #1
    Join Date
    Jun 2012
    Location
    Wales, UK
    Posts
    180
    Thanks
    82
    Thanked 55 Times in 49 Posts

    oil painting- advice please

    Hello, I've been doing some colour practices in oils lately, from life. The problem is everything is looking wishy-washy and grayed out. I've got the feeling I'm not defining the forms enough and I'm using too much white. But I'm not sure how to change things, I don't want this way of painting to become a habit.

    Here's what I've used:

    linen style oil paper
    hog bristle size 10, sable flat size 8, synthetic filbert size 4, synthetic rigger size 2
    turps
    phalo blue, chrome yellow, crimson, titanium white (yellow ochre and raw umber too for the gate picture)

    The two still lives were painted indoors at night with just a regular bulb. The plein air one was done this morning.

    I start of by drawing in the basic forms with raw umber and turps, sometimes rubbing in some raw umber for a base. Then I put down one thin layer of colour and do the final layer with thicker paint. The jar and fruit took 2 hours, the pears 1/2 hr and the plein air 2 hours.

    Any advice on how to improve in general would be much appreciated, thanks.

    Name:  DSCF0139.jpg
Views: 434
Size:  93.6 KB

    Name:  DSCF0140.jpg
Views: 386
Size:  55.8 KB

    Name:  DSCF0141.jpg
Views: 405
Size:  94.2 KB

    art blog: http://hrartwork.blogspot.co.uk/


    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
    Reply With Quote Reply With Quote


  2. Hide this ad by registering as a member
  3. The Following User Says Thank You to Mana16 For This Useful Post:


  4. #2
    Join Date
    Nov 2003
    Posts
    1,924
    Thanks
    54
    Thanked 825 Times in 678 Posts
    Nice work...if they feel "wishy-washy" and greyed out, it's because you're using paint that's too slippery on a slippery surface. Let them dry for a week and then go back and put in some more time on each one....this time, use an absolute MINIMUM of thinner (or other medium.) Keep the paint as DRY as you possibly can and carefully establish the contours, keeping the color as clean as possible.

    Also--next time, get some gesso and prime the painting surface yourself. Commercial oil-papers and pre-primed canvases have an unpleasantly slick feel that I personally (for whatever it's worth) simply can't stand. You're likely to find you have VASTLY more control with a more absorbent substrate.

    Reply With Quote Reply With Quote

  5. The Following User Says Thank You to Giacomo For This Useful Post:


  6. #3
    Join Date
    Jun 2012
    Location
    Wales, UK
    Posts
    180
    Thanks
    82
    Thanked 55 Times in 49 Posts
    Giacomo: Thanks. That's good advice, and I can easily go back to these subjects.

    This is the paper I was using,

    http://www.jacksonsart.com/Art_Depar...duct_info.html

    I used to use cheap cotton canvas, but it was far too absorbent, you're right in that the papers surface in this case is slick- the paint just tends to sit on top of the surface. I'm going to try to add a layer of gesso as you've suggested and try it out. I would like to get some boards and prime them myself too, but it's difficult to know where to start- there are so many different types of surface out there. thanks again.

    art blog: http://hrartwork.blogspot.co.uk/


    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
    Reply With Quote Reply With Quote

  7. #4
    Join Date
    Nov 2003
    Posts
    1,924
    Thanks
    54
    Thanked 825 Times in 678 Posts
    Unprimed canvas is WAAAAY too absorbent for most oil painting. The key with gesso is do diliute it with a little water, cover the canvas, wait til it dries, then sand it smooth with (reasonably-fine-grit) sandpaper. Between adjusting the dilution of the gesso and the number of layers, you can pretty much get any finish you want.

    Reply With Quote Reply With Quote

  8. The Following User Says Thank You to Giacomo For This Useful Post:


  9. #5
    Join Date
    Jan 2010
    Location
    Haifa, Israel
    Posts
    4,485
    Thanks
    2,462
    Thanked 2,499 Times in 1,548 Posts
    Color looks all right, but the brushwork could use some work. It's kind of haphazard, does not quite describe the form, and you were consistently using smaller brushes than you should have.

    Have you seen the "Brushwork" book by Weber?

    Reply With Quote Reply With Quote

  10. The Following User Says Thank You to arenhaus For This Useful Post:


  11. #6
    Join Date
    Jun 2012
    Location
    Wales, UK
    Posts
    180
    Thanks
    82
    Thanked 55 Times in 49 Posts
    giacomo: the cotton canvas was primed, but it was cheap, so probably not enough layers of primer. Thanks for the advice about gesso.

    arenhaus: You're right, I do feel as though I use too many brush strokes, I'll get some larger brushes and put more paint on the brush to mark with one stroke. I haven't heard of 'brushwork' by Weber, I've done a quick search on amazon and there are two, which one are you referring to? 'brushwork essentials' or 'bold strokes'?

    art blog: http://hrartwork.blogspot.co.uk/


    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
    Reply With Quote Reply With Quote

  12. #7
    Join Date
    Feb 2013
    Posts
    312
    Thanks
    32
    Thanked 295 Times in 90 Posts
    ...

    Last edited by LaCan; July 14th, 2014 at 06:32 AM.
    Reply With Quote Reply With Quote

  13. The Following 5 Users Say Thank You to LaCan For This Useful Post:


  14. #8
    Join Date
    Jun 2012
    Location
    Wales, UK
    Posts
    180
    Thanks
    82
    Thanked 55 Times in 49 Posts
    Thanks for the advice Lacan, much appreciated.

    And you're right, I wasn't thinking of things in terms of light and dark- it's interesting to see things reduced to those factors. Thank you, I'll practice this approach in my next paintings/ drawings.

    art blog: http://hrartwork.blogspot.co.uk/


    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
    Reply With Quote Reply With Quote

  15. #9
    Join Date
    Jan 2010
    Location
    Haifa, Israel
    Posts
    4,485
    Thanks
    2,462
    Thanked 2,499 Times in 1,548 Posts
    Quote Originally Posted by black-swan View Post
    You're right, I do feel as though I use too many brush strokes, I'll get some larger brushes and put more paint on the brush to mark with one stroke. I haven't heard of 'brushwork' by Weber, I've done a quick search on amazon and there are two, which one are you referring to? 'brushwork essentials' or 'bold strokes'?
    "Brshwork Essentials". I have not seen the other one, so either might work.

    Reply With Quote Reply With Quote

  16. The Following User Says Thank You to arenhaus For This Useful Post:


  17. #10
    Join Date
    Dec 2012
    Posts
    181
    Thanks
    51
    Thanked 39 Times in 38 Posts
    I'm kind of wondering about whether there is a color palette issue as well, whether the colors you chose would even allow you to push to get to the fullest range of lights and darks? I know raw umber can do a nice range of values, but the Phtalo Blues I have always come across have been mid-range blues tops... something darker may help you stretch out your value range better.

    Reply With Quote Reply With Quote

  18. The Following User Says Thank You to Envisualist For This Useful Post:


  19. #11
    Join Date
    Jun 2012
    Location
    Wales, UK
    Posts
    180
    Thanks
    82
    Thanked 55 Times in 49 Posts
    arenhaus: thanks, I've ordered it now, should be interesting.

    ClockworkLives: Thanks for your advice. The phtalo blue I use is pretty dark, I think my main problem as far as the colour palette is concerned is white getting into everything- and lack of a clear pattern of light and dark as LaCan mentioned. I have used prussian blue instead of phtalo at times and the same problems occur.

    art blog: http://hrartwork.blogspot.co.uk/


    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
    Reply With Quote Reply With Quote

  20. #12
    Join Date
    Nov 2003
    Posts
    1,924
    Thanks
    54
    Thanked 825 Times in 678 Posts
    I didn't notice until just now that you were using a phthalo as your main blue...Phthalo and Prussian blues are just FEROCIOUS in the way they tend to overwhelm any color they're mixed with. Hardly any of the working artists I know use them as a basic blue. I'd STRONGLY suggest you use Ultramarine Blue instead.

    Using a broader palette will allow you more opportunity to lighten and darken tones without having to add white. Just FYI, this is the palette I work with when I'm painting in oil:

    Earth Tones:
    Naples Yellow
    Yellow Ochre
    Venetian Red or other red-oxide
    Burnt Sienna
    Burnt Umber
    Black
    White

    Transparent Colors:
    Alizarin Crimson
    Ultramarine Blue
    Viridian Green

    If I'm painting human flesh I also use Cadmium Red Medium and Cadmium Orange Medium.

    Hope that is of some use.

    Reply With Quote Reply With Quote

  21. The Following User Says Thank You to Giacomo For This Useful Post:


  22. #13
    Join Date
    Jun 2012
    Location
    Wales, UK
    Posts
    180
    Thanks
    82
    Thanked 55 Times in 49 Posts
    Giacomo: Thanks, you're right about the phthalo and prussian blues, you have to be very careful with how much you add to your mixtures and if there is traces of them on your brush, then everything takes a bluish cast. I'll try out ultramarine blue.

    Your earth tones are similar to the Zorn palette, it's surprising how much range you can get out of the earth colours.

    I've just been trying to keep things as simple as possible palette-wise, hence sticking mainly with the primaries so far. I'm going plein air painting this thursday in a hilly area, I'll try including more earth tones on the palette and ultramarine blue- see how it goes. Thanks again.

    art blog: http://hrartwork.blogspot.co.uk/


    "Don't worry about your originality. You could not get rid of it even if you wanted to. It will stick to you and show you up for better or worse in spite of all you or anyone else can do" Robert Henri
    Reply With Quote Reply With Quote

Page 1 of 2 1 2 LastLast

Members who have read this thread: 0

There are no members to list at the moment.

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •  
  • 424,149 Artists
  • 3,599,276 Artist Posts
  • 32,941 Sketchbooks
  • 54 New Art Jobs
Art Workshop Discount Inside
Register

Developed Actively by vBSocial.com
SpringOfSea's Sketchbook